Lighting Co
Gemini Stage Lighting
Venue
Various (Tour)
Crew
LD/Programmer/Director: John Bailey
Set Designer: Rob Zombie
Production Manager: Ray Picard
Tour Manager: Heike Kraemer
Stage Manager: Jesse Snokowski
Trucking: Janco
Gear
1 grandMA console
14 Martin MAC 700 Profiles
8 Martin MAC 700 Washes
8 Atomic 3000 srobes w/color changers
4 ColorBlaze 72s
2 ColorBlaze 48s
2 Base hazers
For more Rob Zombie 2014 tour photos by Steve Jennings, go to:
http://www.prolightingspace.com/photo/albums/rob-zombie-2014-extras
Designer Insights by Steve Jennings:
John Bailey
Lighting Designer / Director
As lighting designer, programmer, director and tech for Rob Zombie’s latest 2014 tour, John Bailey really is the do-all lighting guy.
“It’s not always easy to figure out how and what needs to be done. Based on the fact that this one was very stripped down, a no pyro, video tour! All in all, the basics were what I chose to bring, LED, Profiles and Wash fixtures. I never jump into something that I’m not comfortable with. Prep work and thought always pay off, Gemini Stage Lighting allowed me the time and resources of their shop to prep and make things simple so that I have the ability to be my own tech. Knowing that I can set and tear out a package in 30 minutes makes all the difference. I never design a pipe dream, it’s aways reasonable and easy to load in and out.
“I started with Gemini Stage Lighting being the vendor of this particular client, and it will always have to stay that way. Rob is very comfortable knowing the lighting is provided from Gemini, and he also likes knowing he has a couple of other guys on the team, Damian Rogers, and Sonny Satterfield. A great company located in Dallas, Texas, we’re growing client base and inventory all the time. They are always happy to build or create whatever I have in mind, it’s really wonderful.
“We will usually go over certain pallets at the start of a tour with Rob (Zombie). Colors or gobos, maybe even effects for certain ideas, but Rob has never been one to stop my imagination from creating super creepy looks and also, ones that just light everything up all at once. He’s never sat and dictated any bit of the way songs need to be structured or written via lighting console. It’s all a trust based thing. And very awesome at that. He see’s me, and GrandMA console, and just relaxes ! I’m happy to now say it’s finally an MA2 board. This console is just so awesome. I used to spend on recent tours, 1-2 hours writing fixture profiles for the always changing local rig on the MA1 that weren’t supported. The lights are often so new that you’re not going to find one on the MA-share.net. And being the prosecutor, judge, and exterminator on these tours, it ate up a lot of my time. But with an MA2, with the right pallet set and a good source of variable colors, beam, and other pallets, makes it a walk in the park.
“Regarding fixtures on the tour, I have to say, Sharpy’s (or as many like to say) fake Sharpy’s (5r Beams) are wonderful in some applications, however, I am really tired of seeing these color wheel stuck fixtures in festival rigs. They are so unforgiving in focus, let another thing like truss moving, or just simply someone climbing a rig, or walking a stage around those, things happen and then there is never getting the perfect focus in the touring world accomplished. Now that I’m done complaining ! That’s why I’ve always kept the same fixture type floor together, Martin Profiles and Washes. I’ve constantly been a fan and still am of the 700 Pro. It’s been an amazing fixture, and when I have to slam everyone of mine in at set change, and then haul ass 300’ to FOH to run the show, I’ve never been worried whether or not they will function. I am somewhere like 100% with set change to FOH to stage for strike with the 700 series from Martin.”
